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3. The director, David Gordon Green, himself said in an interview that Laurie's remarks about Michael deriving strength from killing are just the character's personal theory, and explicitly stated that it is not true, even going as far as to outright state that there is nothing supernatural about Michael and that he is simply a man capable of spectacular feats. The reason the final battle leaves such a sour note is because it isn't a David vs. Goliath situation like it should be, where a hero(ine) miraculously triumphs over impossible odds. This is a staged safari hunt where some wealthy tourist gets to put down a helpless, trapped, limping animal so they can go home and jerk themselves off about it. I wanted to say that this movie was a third-rate retread of (the already quite mediocre) Halloween H20, but that would be unnecessarily bullying the latter movie. For all of its many faults, H20 was at least able to recall who the pivotal character of the Halloween franchise is, and was able to develop characters in believably human ways. Th is  data was generated  wi​th G SA Co​nten​t Gene rator DEMO.

It seems apparent that he is confused mentally ill person trying to find his parents again, but viewers were left waiting until this movie for an explanation. I had my reservations when the movie opened up with Laurie monologuing about how Michael Myers is "the personification of evil", but was hopeful that things would develop and we would get a more nuanced exploration of the man's psyche. Alas. Ironically, while Halloween Kills was meant to be nothing but a slasher movie taken to its logical extreme, and Halloween Ends was meant to be the slower, thought-provoking movie, the former did more to develop Michael into an interesting character in one scene than the latter did in 2 hours. Despite the movie's flaws, I will admit that the soundtrack is wonderfully done, as is to be expected of John Carpenter. The opening theme and the scene where Michael kills the doctor's girlfriend especially stand out, and I wound up purchasing the OST as I did with the ones from the previous movies. Da ta h᠎as be​en g ener᠎ated by G​SA C​ontent　Gene᠎rator ​DE᠎MO !

The attempts at character development in this movie are so far-fetched so as to be absolutely hilarious. Laurie Strode is the most notable example, with her character arc appearing to have accidentally been written backwards; her encounter with Michael in 1978 was shown in the 2018 sequel to have transformed her into a paranoid and trauma-riddled shut-in and survivalist, something that persisted even after 40 years of Michael consistently being in captivity. But as Ends shows, Laurie, after encountering Michael yet again in 2018/Kills, nearly dying, and losing her daughter and her friends to Michael before he disappears into the night, has now completely moved on and forced herself to forget The Shape and live a carefree life in a new house with her granddaughter Allyson, as the only two survivors of the Strode lineage, even putting decorations up for Halloween, the day that previously drove her to drink to calm her frazzled nerves. Apparently she considers him to be far more of a threat when he's chained up in a cell than when he's out prowling the streets.

They don't pay much attention to serial killers anymore, but Bast forbid someone calls in threatening to kill themselves. Immediately afterward, the police and the entire rest of Haddonfield suddenly emerges like a pop-up book (I presume they were all on-call for this for the past 4 years) to join Laurie in a sadistic funeral procession where Michael Myers' body is tied to the top of Laurie's car, driven to a junkyard, and bloodily deposited into an industrial shredder. Michael is talked down to by both Corey and Laurie about being "just a man in a mask", and it indeed does seem this way. Aside from an exquisite scene where he lifts Allyson's co-worker over his head and stabs her through the wall, vehicle insurance Michael is a downright pitiable shell of his former self for reasons that the movie does not deign to address. At various points in the movie, he is taken down with one kick by a drunken lout before being rescued by Corey, overpowered and robbed of his mask by Corey in a sequence deserving of having the Benny Hill theme played on top of it, and, of course, taken down by Laurie.

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